Берни Райтсон (Bernie Wrightson) начал работу над произведением Мэри Шелли на добровольном начале и это была работа для души. Художник вспоминает, что возвращался к неприкаянному чудовищу всякий раз, когда у него выпадала свободная минутка. Самым сложным моментом была сама техника иллюстраций –…
Who is the real monster in Frankenstein? Read on for a critical take on whether the Creature or Victor Frankenstein is the true monster of the novel.
Traces, the magazine of the Indiana Historical Society, has just printed an article on the life and work of Franklin Booth, perhaps the most accomplished of Indiana's illustrators and brother of Hanson Booth, subject of the previous posting. The article is called "Billowing Clouds, Towering Timbers," and it was written by Thomas E. Rugh. Rather than compete with Mr. Rugh's article, I will offer some artwork by Booth. You can read more about him in Traces for Spring 2011. Franklin Booth was renowned for his technique with a pen, but as this illustration shows, he was every bit as fluent in the language of color. Fantasy illustrator Roy Krenkel (1918-1983) appears to have owed much to his predecessor. Booth was largely self-taught as an artist. In his naivete as to how black-and-white illustrations were reproduced, he believed they were drawn by hand, so he painstakingly copied the technique of the engraver. In his maturity as an artist, the results were stunning, as this illustration can only suggest. Franklin Booth was also a cartoonist, though perhaps just once. His "Uncle Charlie Returns to the Farm," a Sunday newspaper comic strip, dates from 1904. Text and captions copyright 2011, 2024 Terence E. Hanley
Laura Morera as Elizabeth and Steven McRae as the Creature in rehearsal for Liam Scarlett's Frankenstein, The Royal Ballet Season 2015/16 www.roh.org.uk/productions/frankenstein-by-liam-scarlett
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The dead cat now has a ‘terrifying’ grin, and a ‘hotdog’ body stretched to twice its size.
Emerge shows the time period when I could feel the depression leaving while my true self emerged. I sand Dura-Lar and smear on etching ink with my hands. I add lithographic crayon, and scrape x-acto […]
Mary Shelley's Frankenstein Infographic to help you understand everything about the book. Visually learn all about the characters, themes, and Mary Shelley.
Reading educates 05: The illustrated book "Otherwordly" celebrates fashion in the digital age. It is an homage to the potential of the 3D printer, and all the references that can be gleaned from the Internet .
The dead cat now has a ‘terrifying’ grin, and a ‘hotdog’ body stretched to twice its size.
Identifier: postmortempatho00catt Title: Post-mortem pathology; a manual of post-mortem examinations and the interpretations to be drawn therefrom; a practical treatise for students and practitioners Year: 1905 (1900s) Authors: Cattell, Henry Ware, 1862-1936. [from old catalog] Subjects: Anatomy, Pathological Autopsy Publisher: Philadelphia and London, J. B. Lippincott company Contributing Library: The Library of Congress Digitizing Sponsor: The Library of Congress View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: ng the circular incision, or, more frequently, crucial incisions aremade on either side of the longitudinal sinus and each side is incisedby a perpendicular cut running from the vertex down to the upper mar-gin of the bone. The four pieces are then turned down and the falxcerebri is cut anteriorly just behind the crista galli and with a portion 1 J. Dejerine, Anatomie des centres nerveux, 1895, p. 13. EXAMINATION OF THE SKULL AND BRAIN 229 of dura on each side of the longitudinal sinus pulled backward. Itwill be seen that the dura mater thus covers the sawed portions ofthe bones (Fig. 128) and affords a protection to the hands in thesubsequent removal of the brain. Aseptic compresses may also beused for a similar purpose. The thickness of the skull is next noted. It varies much, beingusually greater in negroes and, at times, in syphilitic subjects. Italso varies in different parts of the same skull, being thinnest in thetemporal region and thickest at the occiput, and is often unequal Text Appearing After Image: Fig. 128.—French method of opening the dura. (After Letulle.) in corresponding points of the opposite sides. The diploe may beentirely absent in some places, in which case the bone-dust will lackthe reddish color commonly observed in recently sawed bone. Theskull is usually from two to six millimetres thick. In rare cases thefrontal sinus may extend high up and be of unusual thickness; in oneof my subjects it measured half an inch across at the top after removalof the calvarium in the usual manner. Note the relations of theexternal table, internal table, and diploe. Pay especial attention tothe amount of blood in the latter; if abundant, suspect fracture. At 230 POST-MORTEM EXAMINATIONS times it Is entirely bloodless. The skullcap should be held up to thelight so that any inequality in its thickness may be perceived. ThePacchionian granulations often give rise to small nodular depressionsin the inner table, which are of course perfectly normal and shouldnot be mistaken for pressure Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Who doesn't love scandals, conspiracy theories and intriguing mysteries? I certainly do and I write about them often.See the latest articles here - in one convenient place.
Caspar David Friedrich was a master of Romantic landscapes. Gothic ruins, crosses, cemeteries and morning mists were his domain.
Comic Creator Bernie Wrightson
Prevailing theories on creativity focus on methodology, or amount of practice. But new studies suggest artistic talent may be more hard-wired than we thought.
Girl with Rabbit, gouache on paper, 20” x 28”, 2015
Artist Juana Gómez turns her gaze inward in order to understand the larger systems that compose the outside world. She embroiders the bones, muscles, veins, and synapsis that lie below her skin onto self-portraits, tracing her biological structures as a way to translate the similar patterns found in nature and modern civilization. “There is fundamental law that can be seen in the veins of a leaf, the course of rivers and their tributaries, the circuits of the central nervous system, the currents of the sea, and the routes of traffic on the Internet,” says Gómez in an artist statement. More
The work of sculptor Francesco Albano has been covered by several online media outlets: you will find it on Beautiful Decay (“Francesco Albano’s Melting And Grotesque Body Sculptures”),…
